Archive for the ‘Classic Albums’ Category

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When Mia Berrin started her band Pom Pom Club in high school at age fifteen, the band name and social media handles preceded the music. “It’s like the people who buy web domains with the hopes that they’ll be worth a million dollars in a couple of years,” she jokes of grabbing the Instagram and Twitter handles before recording a single song. “That was me.”

Make no mistake: Despite the order of operations, Berrin valued music above all else. The Orlando-raised singer-songwriter had been learning guitar while messing around in GarageBand, and inspired by riot grrl — specifically, the idea of “being in a non-men band” — she asked around at her Orlando school to see if any other classmates were interested. Unfortunately, the “one girl who played bass in the entire school” turned her down. “I didn’t know off the top of my head that I would turn it into something,” Berrin, now 23, remembers. But with her claim to the name in her back pocket, she graduated from high school and moved to New York to study production engineering. She also progressed from playing and singing alone in her room to performing live, first solo, then with a full line-up female bassist and all.

Within a few years, Pom Pom Squad was officially “something” indeed.

Berrin who is soft-spoken but quick with sarcasm, oscillating easily between humour and sincerity — cut her performing teeth first by singing with other bands around Manhattan and Brooklyn prior to forming her own group. (Bassist Maria Alé Figeman, drummer Shelby Keller, and guitarist Alex Mercuri round out the current Pom Pom Squad line up.) “I felt like I hopped into this stage persona. I had no idea who I was, but I was very extra and that was great,” Berrin says. “It was a lot of self-discovery and picking up a skill that I had no idea I could do.”

Berrin released singles and EPs through Bandcamp, gathering momentum with 2017’s “Hate It Here” and 2019’s “Ow“. Drawing upon indie rock, alternative, pop and grunge influences (at any given moment, Berrin’s sonic mood board might contain musicals, Ariana Grande, Weezer, or Kathleen Hanna), Pom Pom Squad quietly established itself as one of the most riveting rock acts to emerge over the year.

The way Mia Berrin can nod to her influences—be they of the iconic 60’s girl group, characters from a John Waters film, or cutting edge fashion from today, while simultaneously spinning a beautiful and original story in her songs—is absolutely thrilling. This is the kind of record that makes you not only excited to see what you can do with an artist in a post-pandemic future, but also how you can build their career in the present circumstances.

It’s a razor-sharp bite of cathartic punk that the Brooklyn four-piece’s powerhouse frontperson Mia Berrin wrote in the traumatic throes of her adolescent feminine awakening while realizing the ever-present gaze of the male patriarchy.

“Crying” sounds like a sentimental breakup ballad but Mia Berrin doesn’t seem hung up on anyone but herself in the lyrics. It’s all self-flagellation for failing in attempts at relationships, castigating herself for making “a game of breaking promises,” feeling nothing, losing arguments, and obsessing on people who she thinks hate her. Berrin sings it all with convincing feeling, but it’s also clear she’s playing up the melodrama and winking at the audience a bit. The song effectively has it both ways – it indulges your self-pity, but also gently nudges you to notice that maybe the reason connecting with other people has been so hard is that even aside from all the ways you self-sabotage, you’re just too caught up in yourself to really notice or care about how anyone else feels.

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Music and lyrics by Mia Berrin

Except for:
“Cake,” music by Henson Popa (ASCAP) and lyrics by Mia Berrin and Henson Popa

“Crimson + Clover,” music and lyrics by Tommy James and Peter Lucia Jr. (Originally performed by Tommy James and the Shondells)

“Forever,” music by Mia Berrin and Garret Chabot (ASCAP) and lyrics by Mia Berrin
Violin arrangement for “Forever” by Camellia Hartman

“Shame Reactions,” music by Shelby Keller (ASCAP) and lyrics by Mia Berrin

“This Couldn’t Happen,” music by Lionel Newman and lyrics by Dorcas Cochran (Originally performed by Ida Lupino) based on the version by Doris Day

Bass: Mari Alé Figeman
Drums and Percussion: Shelby Keller
Lead Guitar: Alex Mercuri

The band’s first release via Germany-based indie label City Slang, “Death of a Cheerleader” (out June 25th) is the impressive culmination of Berrin’s musicianship to date.

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The songs on This Year’s Model are typically catchy and help the vicious sentiments sink into your skin, but the most remarkable thing about the album is the sound. Costello and the Attractions never rocked this hard, or this vengefully, ever again.”

Elvis Costello’s debut album, 1977’s “My Aim Is True”, arrived less than a year before its follow-up, “This Year’s Model”. But the two records boasted a sound, style and attitude that were far removed from each other — a sign of things to come from the singer-songwriter, whose restless catalogue has swung from one genre to another with little dip in quality along the way.

My Aim Is True was recorded in 1976 and 1977 in London by Costello, who was born there, and a California-based country-rock band called Clover that included members who would later join Huey Lewis and the News and the Doobie Brothers. (Lewis was actually a member of Clover at the time but did not appear on the album, which didn’t credit the band because of contractual reasons.)

For This Year’s Model, Costello enlisted his own band, the Attractions, which he formed after the release of his debut. (Even though they did receive credit, they didn’t receive an official cover co-billing until 1979’s Armed Forces.) And the upgrade, or at least the familiarity of working with musicians he had spent plenty of time on the road with at that point, pushed Costello’s second LP to new levels of intensity. Not that My Aim Is True didn’t have that; This Year’s Model just had more of it.

The critical success of My Aim Is True also gave Costello more confidence as a songwriter. At just 23, he was one of the best young writers of the era, pulling from earlier artists as much as he was riding the new wave of punk upstarts. With This Year’s Model, released on March 17th, 1978, Costello made his masterpiece — an album that bridged his brief past with his wide-open future.

The album’s sessions started in late 1977 and ended in early 1978 at London’s Eden Studios, with Nick Lowe, who worked on My Aim Is True, once again producing. More than a dozen songs were recorded, including some of his most enduring songs: “No Action,” “Pump It Up,” “(I Don’t Want to Go to) Chelsea,” “Lipstick Vogue” and “Radio, Radio,” among them. When it came time to release the LP in the U.S., a couple months after the original U.K. debut, two songs were dropped from the track listing —  “(I Don’t Want to Go to) Chelsea” and “Night Rally,” reportedly because they were too British for American ears — and replaced by “Radio, Radio,” which was released in Costello’s home country seven months later as a stand-alone single.

“Radio Radio” was made more famous by the Saturday Night Live performance. By the time “Radio, Radio” made its debut on record, it was already a notorious chapter in Costello’s short history after Costello and the Attractions played it on “Saturday Night Live” in December 1977 (filling in for the missing Sex Pistols who were due to perform but were having problems securing visas). Costello was slated to play his current UK single “Less Than Zero,” in 1977. Costello launched into a few bars of “Less Than Zero,” but then turned to his band and told them to stop. He then apologized to the live audience, saying, “I’m sorry, ladies and gentlemen, but there’s no reason to do this song here,” and broke into a full rendition of “Radio Radio,” which still wasn’t officially available in the States, Lorne Michaels…the God of Saturday Night Live was not pleased.

As a result, he was banned by the TV producer for a dozen years, before being invited back in 1989; he then repeated the stunt, this time with the Beastie Boys and with SNL’s consent, on the program’s 25th anniversary special in 1999.

Costello later claimed he was inspired by Jimi Hendrix, who in 1969 stopped a performance of “Hey Joe” on the show Happening for Lulu and launched into the Cream song “Sunshine Of Your Love,” earning him a ban from the BBC.

Elvis Costello: “Before I got into show business, I thought radio was great, So I wrote a song about celebrating it – the thrill of listening to it late at night. This was my imaginary song about radio before I found out how foul and twisted it was.” in the song, Costello is protesting the commercialization of late 1970s FM radio. Radio stations would become more and more consolidated over the years, and their playlists tightened up considerably. Eventually, deregulation led to a few companies owning the majority of American radio stations, which led to automated stations.

This song is a takedown of radio, but it started out as a loving tribute. Costello wrote the first version of the song as “Radio Soul” when he was in a band called Flip City. They recorded a demo in 1974, but the song was never released.

In “Radio Soul,” Costello sings lovingly about radio, without any trace of vitriol: I could sail away to the songs that play upon that radio soul, Radio soul It’s a sound salvation

When he reworked the song in 1977, he changed the title and completely flipped the meaning, reflecting his newfound take on the topic.

The song serves as a linchpin of This Year’s Model, even though it wasn’t part of the original release and closed the album it first appeared on. It represented a more robust sound for Costello, thanks to both the addition of the Attractions and Lowe’s punchier production, and a more biting undertone that helped build Costello’s standing as one of punk’s most promising Angry Young Men.

He also became one of the era’s most prolific genre jumpers, making R&B, country, baroque pop and Americana albums over the next decade. But “This Year’s Model” serves as Costello’s model, the record that introduced Steve Nieve’s defining keyboard riffs and fills, a sturdier musical backing and Costello’s sneering vocals — all of which would find their way in and out of various albums over the years. He’s made more cohesive records since then. And more innovative ones. But he’s never made a better one.

Released: 17th March 1978.

Chloe Foy is a Singer/Songwriter from Gloucestershire, UK.

It was back in 2013 that Chloe Foy first began to turn heads with the release of her debut single, In The Middle of The Night. Now, some eight years later, the Gloucestershire-via-Manchester songwriter is gearing up for the release of her debut album, “Where Shall We Begin”. If any album meets the definition of long-awaited, it would be this one. Recorded at Pinhole Studios in Manchester, the album saw Chloe bring a host of musical collaborators into the studio.

For Chloe, the record is the result of a decade of hard graft, gradually shaping her ideas and influences into the tracks that make up this most remarkable of debut albums.

Excited to announce a brand new EP is coming . I chose some of my favourite tunes and made ‘Covers, Vol. 1’ over lockdown, including songs by The Cure, Whitney, Nick Cave and the Velvet Underground plus a little something unexpected at the end.. 

Callous Copper · Chloe Foy Callous Copper ℗ 2020 AntiFragile Music Released on: 2020-01-17

Performers:
Chloe Foy – Vocals, Piano, Guitar
Harry Fausing Smith – Strings, Guitars, Keys, Synths, Organ, Percussion and Backing Vocals
Benjamin Nash – Synth, Backing Vocals

The long awaited debut album from Chloe Foy. Released December 2020

Re-released as a double-LP with 15 new tracks, Alejandro Rose-Garcia’s debut celebrates 10 years of existence. In honour of the tenth anniversary of “Roll The Bones”, Shakey Graves presents Roll The Bones X. Available everywhere for the first time, this very special reissue includes the original album paired with 15 Odds & Ends, of never before heard songs, demos, and deep cuts. Before Roll the Bones, Rose-Garcia’s musical project consisted of two hefty folders full of lyrics, drawings, and even a zine about a mouse journeying to the moon to rescue his love. 

Many moons ago in the city of Austin, Texas a lightning bolt ricocheted off of a garbage can and hit a deer before finally zapping the mayor…In his temporary insanity he declared Feb 9th Shakey Graves Day. From the smouldering fur and randomness came a glimmer of noisy hope amidst the boredom that has continued for 10 years. This year also marks the 10th anniversary of my first album’s release on Bandcamp. To celebrate, I am thrilled to announce the release of a double disc special edition of “Roll The Bones…Roll The Bones X!” This special deluxe edition includes previously unreleased music and an exclusive booklet detailing some of the history and secrets behind its creation.

Alejandro Rose-Garcia has been making music under the moniker Shakey Graves for over 10 years now. The Texas musician has released five albums—most of which are self-released—and three lives recordings. Roll the Bones is a gentle, scrappy debut steeped in heartache and exploration of the self in a new city, reminiscent of folk-rock legends Tyrannosaurus Rex and Donovan. The album was initially plopped on Bandcamp when the site was in its humble beginnings without any information about Rose-Garcia. “In a lot of ways it was a breakup record,” he says looking back. “My first serious relationship had fallen apart and I was wanting to break up with my life—run away, be transient, and figure out who I was in the world. I can hear myself blaming the girl and trying to support myself, like maybe it’s OK to be dirty and crazy and have blinders on. Then, at the end, everything’s zooming back in and I’m saying ‘I guess I just got hurt and I’m in a bit of pain and, you know, it’s going to be OK.’”

1. “Unlucky Skin”

This album was slowly collected as opposed to chronologically produced. I was freshly 20 and had started experimenting with 4-track cassette recordings and writing the songs as they appeared, and this was one of the first tunes that really stood out to me. It had its only sort of melancholy and playfulness. I recorded the banjo and vocals separately. It took years to figure out how to play the rhythm and sing the tune at the same time.

2. “Built to Roam”

I was living in Los Angeles chasing my tail trying to be an actor when this song came along. The guitar I’m playing is a haunted 1932 Gibson L7 which had magically fallen into my possession. This guitar led me into my early experimentations in open tuning and is playing all the parts, including the rhythm sounds.

3. “Roll the Bones”

I wrote this melody around the same time I wrote “Built to Roam,” but couldn’t figure the lyrics out. It finally came together two years later when I was staying in my friend’s apartment in Brooklyn. I recorded all of it using a Zoom H4n portable recorder, which was an insane task.

4. “I’m on Fire”

I never set out to record a Bruce cover, let alone his most covered tune. I had initially recorded the bass line on its own and then started singing “I’m on Fire” over it sort of as a joke. Shockingly, it all fit together and was so effortless and surprising that I just went ahead and kept it.

5. “Georgia Moon”

My best friend and I scrawled this tune out on a road trip to NYC. Originally envisioned as a tongue-in-cheek country tune about shitty corn liquor, once put to music it took on a serious tone and became a tribute to our journey.

6. Business Lunch”

Found a Casio keyboard in the garbage and made a beat out of it, the rest unfolded into a song about the dirty side of life and its eternal allure.

7. “City in a Bottle (Live @ 2023)”

On my first legendary trip to New York City I met a sex worker on the train named Quick Monique the Freak. She was an older woman and was very concerned about my boots being dirty. She offered to clean them for me and I passed on the offer, but have always thought back on that fork in the road.

8. “Proper Fence”

Built as a tribute to a lot of the old Alan Lomax recordings I was listening to at the time. A classic song about missing the love boat.

9. “The Seal Hunter”

Originally called “For a Good Time Fuck My Wife” about a despicable person. When recording it I was recording over cassette tapes I found in my house, this was a tape by some sort of spiritual sex therapist that one of my parents had—once I heard some of the tape I knew I wanted to sample his voice.

10. “To Cure What Ails”

I had a little studio apartment in Culver City, the majority of the music off this record was recorded in that spot. I would sit at a tiny table and stare out the window every morning and make songs. There was a wind chime outside of the window and a palm tree in the distance. You are certain to hear the wind chime on any track written in that studio but this is the only one that features the palm tree.

Pinegrove have revealed details of a new feature length film, “Amperland, NY”, and accompanying soundtrack album to be released digitally on January 15th and physically on February 26th on Rough Trade. The film, scripted from a short story by Pinegrove’s Evan Stephens Hall and directed by Kenna Hynes, was filmed at the band’s long time home in upstate New York, known as “Amperland” to Pinegrove and their fans, prior to the house being sold by the owner earlier this year.

The film, produced in conjunction with Chromoscope Pictures, and described by Evan as “fun, hopefully poignant, definitely weird ”, includes 22 songs – a full set list length of performances – spanning the band’s entire career to date. Those new renditions of old gems, recorded live in the Amperland house by Pinegrove’s Sam Skinner, will be released as a soundtrack album – also titled Amperland, NY – at the same time as the film. Evan explains the film as “threaded by a surreal, giddy narrative – reimaginings of our songbook and first-time-imaginings of Pinegrovian tall tales.” The band viewed the project as a way of honouring the house that had acted as home, recording studio and important creative haven for their last two albums: Skylight (2017) and Marigold (2020).

Today’s news comes with the release of one of the songs from the project: a new live version of “Morningtime (Amperland, NY)”, which originally appeared on Pinegrove’s 2012’s self-released debut, Meridian, and reissued on Everything so Far (2015). 

Pinegrove’s new feature film “Amperland, NY” premieres Wednesday January 13th, and its accompanying album is available Friday Jan 15th: Provided to YouTube by Beggars Group Digital Ltd./Rough Trade Records Ltd Released on: 2020-12-03

Released on Rough Trade Records Ltd

Pinegrove: Evan Stephens Hall , Joshua Marré , Megan Benavente , Nandi Rose , Nicholas Levine, Samuel Skinner 

Released January 15th, 2021

Having toured the world over following the release of their debut album ‘Songs of Praise’, Shame made a name for themselves as one of the UK’s best live bands.

At the beginning of 2021 the band released their James Ford-produced follow up “Drunk Tank Pink”, earning them a top ten chart position and cementing them as one of the heavy-hitters of the indie music scene. ‘Shame – Live In The Flesh’ is a collection of 7 songs filmed and recorded at London’s historic Brixton Electric in October 2020. it is the only opportunity to hear track from “Drunk Tank Pink” explosive material live on vinyl, played with all the energy and relentlessness that shame bring to the stage. with so many cancelled or rescheduled tours in the last year, it’s a timely reminder of how important it is to capture live recordings, and who better to do that than Shame?

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Released April 19th, 2021

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Ian McCulloch and Will Sergeant shaped Echo & the Bunnymen’s dreamy post-punk into something timeless. Their 1997 reincarnation sparked new life for the band, and McCulloch and Sergeant have maintained their strong appeal of passionate rock & roll. On a live setting, they’re charming and their first proper live album, “Live in Liverpool”, proves that. The duo have a weird musical madness together, and they’re comfortable with it. The two night stint captured August 2001 at Paul McCartney’s Liverpool of Performing Arts, McCulloch’s romantic brood and Sergeant’s riveting guitar work are at its best. It’s a merry collection of cult classics (“Seven Seas,” “The Killing Moon,” “Never Stop”) and new material (“SuperMellow Man,” “Eternity Turns”), but a homage to the band itself. The psychedelic bombast of “All That Jazz” is slick and savvy. Songs from the “Crocodiles” album take on that tone, but with a signature lust and a sneaky intensity. “Over the Wall” brings that side of the band to the forefront.

In a live setting, it’s eerie and alluring. “Rescue” and “The Cutter” soar with lush guitar riffs and McCulloch’s warm vocals illustrate something primitive. “Nothing Lasts Forever,” from 1997’s Evergreen, is a sweet sign of age, but it’s also graceful. McCulloch and Sergeant are fond of what Echo & the Bunnymen have become. Two nights churning out fan favourites and band mainstays in their hometown makes it much sweeter.

Recorded in 2001 at Paul McCartney Institute of Performing Arts, “Live In Liverpool” features electrifying performances of classics including “The Killing Moon”, “Lips Like Sugar” and “The Cutter.” Pressed on double 180g clear vinyl for RSD Drops to mark its first release on vinyl. 

Tracklisting:

1. Rescue 2. Lips Like Sugar 3. King Of Kings 4. Never Stop 5. Seven Seas 6. Buried Alive 7. SuperMellow Man 8. My Kingdom 9. All My Colours (Zimbo) 10. All That Jazz 11. An Eternity Turns 12. The Back Of Love 13. The Killing Moon 14. The Cutter 15. Over The Wall 16. Nothing Lasts Forever 17. Ocean Rain

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Live Vol.1 and Live Vol 2. This special vinyl remaster of the band’s posthumous 1995 live offering – originally offering both shows in the same package on CD – is a chance to hear The Police at two arguable artistic/career peaks. Whether you like the tight trio that shot out tuneful rockers at Boston’s Orpheum Theatre (that version of “Can’t Stand Losing You” is a favorite) or love the world-conquering ambience of their stadium gig on the Synchronicity tour (complete with even bigger chart hits like “Every Breath You Take” and “De Do Do Do, De Da Da Da”), it’s hard to lose with one of the best rock bands of their generation.

Vol 1 on blue coloured vinyl and  Live Vol.2 on red coloured vinyl

First time on vinyl for the first official live album collection, originally released on a 2CD set in 1995, from The Police.

Two separate double LPs showcase the band in two stages:

Volume 1

Recorded in 1979 – shows a trio on the rise performing at its rawest, propelled by bassist and lead singer Sting, followed by drummer extraordinaire Stewart Copeland and guitarist Andy Summers, whose guitar textures are present throughout the show.

The live gig took place at the Orpheum in Boston during the tour for their second album, “Reggatta de Blanc“, and was broadcast on local radio station WBCN at the time. It captures The Police at their most frantic and energetic.

Highlights include early hits and classics such as “Next to You”, “So Lonely”, “Bring on the Night, “The Bed’s Too Big Without You”, “Roxanne”, “Walking on the Moon” and “Can’t Stand Losing You“.

Volume 2

Recorded on the American leg of their “Synchronicity” tour in 1983 during a stop in Georgia, at a show at The Omni in Atlanta.

The show highlights a band at its peak, their already sophisticated sound being complemented by three background vocalists – Dollette Mc Donald, Tessa Niles and Michelle Cobb.

Highlights include “Tea in the Sahara”, “Every Breath You Take”, “Synchronicity I” and “Synchronicity II” as well as huge hits – “De Do Do Do, De Da Da Da” and “Don’t Stand So Close To Me“.

Remastered in 2020 at Abbey Road exclusively for this release

Pressed on heavyweight coloured vinyl

Released for Record Store Day 2021 released through UMC Records

This live set was recorded in the summer of 2020 in Dublin’s historic Kilmainham Gaol. It is a ten song document of some of their best work to date put down on 180g vinyl in a gatefold jacket with an essay by author and historian Donal Fallon.

On 14th July 2020, Fontaines D.C. played a selection of songs from their Dogrel and A Hero’s Death albums live at Kilmainham Jail as part of the Other Voices Courage Series. It is an old cliche for historians to ask ‘if these walls could speak, what would they tell us?’ Fortunately, the walls of Kilmainham Gaol tell us exactly how they feel. Faded with time, but still stubbornly there, are the messages of Ireland’s revolutionary generations. Over one door are the quoted words of Patrick H. Pearse, poet and leader of the Easter Rising, thundering ‘Beware of the Risen People.’ Perhaps the most evocative piece of graffiti in the prison reads simply ‘A Few Men Faithful and a Deathless Dream.’

Tuesday 14th of July, Dublin’s revered five-piece Fontaines DC played a blistering set live from ​Kilmainham Gaol​. Kilmainham Gaol is one of the largest unoccupied gaols in Europe. It opened in 1796 as the new county gaol for Dublin and finally shut its doors as such in 1924. During that period it witnessed some of the most heroic and tragic events in Ireland’s emergence as a modern nation.

The album arrives on 180g heavyweight black LP in a gatefold jacket. Dublin historian Donal Fallon has written an essay on Kilmainham Gaol which is featured on the back cover. Includes an exclusive poster.

A1) Hero’s Death A2) Sha Sha Sha A3) Chequeless Reckless A4) Televised Mind A5) Too Real
B1) I Don’t Belong B2) Liberty Belle B3) Big B4) Dublin City Sky B5) Boys in the Better Land

Released for Record Store Day 2021 by Partisan Records.

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There was a lot of great pop music in the 1960s, and Birmingham psychedelic rock band The Move are often overlooked among the rush. They never made an impression in the US where the band they morphed into, Electric Light Orchestra, were much more successful. A lot of British bands left their best material off studio albums, and only put it on singles. The Beatles had enough great material to get away with it, but The Move hurt their album legacy by never including gems like ‘Blackberry Way’ and ‘Night of Fear’ on their albums.

Perhaps due to this policy, The Move were a very successful singles band, especially early in their career. Five of the first six Move singles placed in the UK top 5, with ‘Blackberry Way’ reaching No#1.

We are proud to be kicking off our reissue program of classic titles by 60s rock band The Move. 

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“Move” Released March 1968

‘Move’: The classic 1968 debut album by The Move comes in 2 formats: a 3 Disc Remastered & Expanded Deluxe Edition and a Standard Edition. The 3 CD Deluxe edition focuses on the Mono mix of the album, but has also been expanded to include 52 bonus tracks encompassing stereo mixes of the album tracks, previously unreleased tracks from the band’s very first recording session in January 1966, unreleased tracks from an early appearance on regional radio and 19 tracks drawn from BBC radio sessions recorded between January 1967 and January 1968. It also includes a lavishly illustrated booklet that fully restores the original album artwork and features a new essay by Mark Paytress and also includes a poster.

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“Shazam” Released February 1970

Shazam’: The classic 1970 album by The Move is available as a 2CD Remastered & Expanded Deluxe Edition and a Standard Edition. The 2CD Deluxe edition has been expanded to include 37 bonus tracks encompassing the singles ‘Wild Tiger Woman’, ‘Blackberry Way’ and ‘Curly’ and alternate mixes. Significantly, 23 tracks recorded for the BBC between May 1968 and November 1969 are also included; 12 of which appear on CD for the first time. It also includes a lavishly illustrated booklet that fully restores the original album artwork and features a new essay by Mark Paytress and also includes a poster.

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“Looking On” released December 1970

‘Looking On’: a newly re-mastered and expanded 2CD edition of the classic 1970 album by The MoveLooking On. expanded to include 14 bonus tracks encompassing the single B-side ‘Lightnin’ Never Strikes Twice’, alternate mixes, and seven tracks and two interviews recorded for the BBC in 1970, all of which appear on CD for the first time. Also includes a lavishly illustrated booklet that fully restores the original album artwork and features a new essay by Mark Paytress and also includes a poster.

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‘Something Else From The Move’

‘Something Else From The Move’: This newly expanded and re-mastered edition of the classic 1968 live recordings made by The Move at the legendary Marquee Club in London is now available as a Remastered & Expanded Edition. In 2007 the original multi-track master tapes were re-mixed and pieced together to present as full a record of The Move’s Marquee performances as possible. Now these stereo tracks are gathered, along with the five mono mixes that formed the original 1968 EP on a CD version of “Something Else from the Move”. The release is newly presented in a single digi-pack with illustrated booklet and liner notes.